Forum rules
Welcome to the forum. We know our members are passionate about their love for all things Twin Peaks. You wouldn't be here if that wasn't the case. Despite having differing viewpoints it is a policy that we all treat each other with mutual respect.

Posting abusive, obscene, vulgar, slanderous, hateful, threatening, sexually-orientated, or any material that may violate any laws be it of your country or the country where this forum is hosted will get you permanently banned.

Posting of spoilers are allowed as long as you indicate (Spoilers) in the topic name and use the Spoiler Tag.

When the Mail released those set photos out in the desert, I thought of Lost Highway immediately. At one stage, IIRC, the old lynch.com had a graphic declaring Twin Peaks, Mulholland Dr and Lost Highway all occupy the same universe.

Interesting! There's long been this quote from Lynch out there about LH and TP existing in the same universe, but no-ones ever been able to figure out exactly where it's from or when he said it. It seems that it may come from the graphic you describe. I had no idea MD was involved as well, though! It makes sense, though. TP and FWWM, LH and MD all have things in common, though personally I might say that MD isn't quite as similar because it doesn't seem to suggest any kind of supernatural force at play, not outside the realm of dreams anyway, as I interpret it. But the Mystery Man in LH and the use of electricity as some kind of conduit to this evil world is very Peaks-y.

At the same time, it's also simply true that ALL Lynch films take place in the same universe, in the universe of Lynch and his various fascinations and fixations.

When the Mail released those set photos out in the desert, I thought of Lost Highway immediately. At one stage, IIRC, the old lynch.com had a graphic declaring Twin Peaks, Mulholland Dr and Lost Highway all occupy the same universe.

Interesting! There's long been this quote from Lynch out there about LH and TP existing in the same universe, but no-ones ever been able to figure out exactly where it's from or when he said it. It seems that it may come from the graphic you describe. I had no idea MD was involved as well, though! It makes sense, though. TP and FWWM, LH and MD all have things in common, though personally I might say that MD isn't quite as similar because it doesn't seem to suggest any kind of supernatural force at play, not outside the realm of dreams anyway, as I interpret it. But the Mystery Man in LH and the use of electricity as some kind of conduit to this evil world is very Peaks-y.

At the same time, it's also simply true that ALL Lynch films take place in the same universe, in the universe of Lynch and his various fascinations and fixations.

This cap is fresh from this morning (and probably fueled the tone of my earlier reply) and not the only comment of this sort I've read, I may be unlucky in running across them but they're out there!

I have no idea what board that's from.

Tumblr, home of excellent TSHOTP analysis and the occasional Annie dismissal pictured earlier! (ignoring Frost was in the context of "Frost always says patience when asked about Annie so that cliffhanger is going somewhere with or without Heather Graham")

Back on topic, I wonder how a clip that seemingly shows Dale Cooper reappearing in the woods of Twin Peaks will fit with his "odyssey back to Twin Peaks".And who the next teasers are gonna show, of course. Returning characters only? New faces like Dern and Forster - without revealing their characters' names? Sheryl Lee?

ETA finally getting a source on that "shared universe" thing would be fantastic! As David Locke mentions, searches so far have been inconclusive iirc.

tid wrote:Does anyone else feel that all the promos have felt cheap and amateurish and a little rushed? The use of font in the titles, the presentation, the overplayed stock footage, all feels a little cheap and predictable to me. They don't seem to have much flair to get me excited. I know they are trying not to give anything away and maintain the secrecy, but I would have liked a little more effort put into these.

That has been my consistent impression as well, including the last one with Dale which could've been exciting if not for the execution. They do feel rushed, and are mostly trying to sell nostalgia, which is a shame, because it would be delightful to see some novelty and Lynch's artistic vision behind them.

Exactly. I don't yet get a sense of Lynch's artistic vision. I'm sure it is all in the actual series, but I'd love to get more of a taste of it in the teasers. There were some questionable stylistic choices in INLAND EMPIRE which was the last major work of his. I hope he has retained his particular cinematic aesthetic of his prior films for the series and not become too relaxed and let the quality control slip.

But then again, maybe it is the marketing department behind these clips and perhaps Lynch has little involvement.

Rainwater wrote:...do you think Nevins' choice of words, for instance, would be any different, had he actually disliked it? He's making money from it. I'm not insinuating anything here, just that statements from the suits at Showtime are one of the last places I'd look to determine the quality of the series. Maybe I'm overly cynical, I don't know.

I don't think that's overly cynical - it's just common sense. The guy who's selling the product is of course going to tell you it's great. (And "great" is just subjective opinion - Nevins might not actually care for it, and be lying in that sense, but I or you might love it all the same, in which sense he'd be telling the truth.)

But the way Nevins chose to sell it is interesting to me. I suspect the subtext of the much-discussed "pure heroin" and "rewards close watching" comments is "We've got something weirder and more perplexing than we bargained for at first - we need to start prepping the audience and press now for that fact." If the finished season were a lot more accessible and conventional than Lynch's last couple films, I think we would instead have heard something along the lines of "We think this will be very welcoming for new viewers of all stripes, as well as satisfying for longtime fans." But with snazzier phrasing.

I'm trying to let go of expectations and just let it be whatever it is. But that's a bit like trying to not think of an elephant.

Yeah, well said. The implication certainly seems to be that it's not at all what they were expecting - no surprises there, heh. The "pure heroin" line immediately made me think of Inland Empire. Whatever it is that we're getting exactly, I'm sure we're in for quite a ride.

tid wrote:There were some questionable stylistic choices in INLAND EMPIRE

The film's aesthetic was a very deliberate choice, and one that achieved exactly what it was supposed to, in my opinion.That being said, Twin Peaks is not going to *look* like IE, I wouldn't worry about that.

tid wrote:There were some questionable stylistic choices in INLAND EMPIRE

The film's aesthetic was a very deliberate choice, and one that achieved exactly what it was supposed to, in my opinion.That being said, Twin Peaks is not going to *look* like IE, I wouldn't worry about that.

Yeah, I believe Lynch said when the Entire Mystery BD set came out that working on the transfers, or whatever, for the episodes had caused him to "fall back in love" with film, after deciding in the IE era that digital video was the way forward, because of the flexibility and freedom it offered. For the new TP, he actually shot on digital cameras, as is standard practice now, but it's pretty clear that the aesthetic he has in mind is a film aesthetic (and the digital equipment available now is capable of achieving that, more or less).

tid wrote:There were some questionable stylistic choices in INLAND EMPIRE

The film's aesthetic was a very deliberate choice, and one that achieved exactly what it was supposed to, in my opinion.That being said, Twin Peaks is not going to *look* like IE, I wouldn't worry about that.

Yeah, I believe Lynch said when the Entire Mystery BD set came out that working on the transfers, or whatever, for the episodes had caused him to "fall back in love" with film, after deciding in the IE era that digital video was the way forward, because of the flexibility and freedom it offered. For the new TP, he actually shot on digital cameras, as is standard practice now, but it's pretty clear that the aesthetic he has in mind is a film aesthetic (and the digital equipment available now is capable of achieving that, more or less).

I think we can be sure the visual astethic of the new TP will be "traditional" Lynch - TP/FWWM warmth and coldness with a big touch of the Lost Highway nights. When Lynch did Inland Empire he compared the DV quality with the low-budget 16mm film he experienced in his early film career and that is to me a good comparison. DV is different, but they share the same spirit on a lot of levels because of the grainy, lighter look and feel. But when Lynch are using big budget digital cameras, I'm sure he is using them more like film cameras and want them to capture that.

It seems he and Deming are taking advantage of the coldness and raw feel digital cameras have the potential to give in envionments with small-scale lighting, though. And i like it! When Cooper is coming out of the dark I can very much feel the raw coldness on his cheeks. The shot may be lit with warm light, but I feel the cold air around him. That is to me easier to get with digital cameras. And if Lynch/Deming take this to their advantage, I think it's very creative.

Wow, I thought I knew almost every filmmaker out there but this is the first time I hear about Stephen Sayadian aka Rinse Dream. Checked his resumé. Very underground stuff. Surrealistic, adult German expressionism meets David Lynch and John Waters. Perfect mix! I will check out Nightdreams and Dr Caligari immediately!

When the Mail released those set photos out in the desert, I thought of Lost Highway immediately. At one stage, IIRC, the old lynch.com had a graphic declaring Twin Peaks, Mulholland Dr and Lost Highway all occupy the same universe.

Interesting! There's long been this quote from Lynch out there about LH and TP existing in the same universe, but no-ones ever been able to figure out exactly where it's from or when he said it. It seems that it may come from the graphic you describe. I had no idea MD was involved as well, though! It makes sense, though. TP and FWWM, LH and MD all have things in common, though personally I might say that MD isn't quite as similar because it doesn't seem to suggest any kind of supernatural force at play, not outside the realm of dreams anyway, as I interpret it. But the Mystery Man in LH and the use of electricity as some kind of conduit to this evil world is very Peaks-y.

At the same time, it's also simply true that ALL Lynch films take place in the same universe, in the universe of Lynch and his various fascinations and fixations.

Well, in the context of David Lynch works all the supernatural essentially emanates from the projections of the mind anyway so I'd be very comfortable interlinking MD in with those (hobo, the old couple etc).

I don't think there's too much to read into the "same universe" comments anyway, people take it far too literally. As you say, all Lynch films come from the same place and the same worldview, maybe some in a more pure state than others.